The Running Man

Stephen King has written a lot of stories, and many of those have been adapted into movies over the years. Not every one of those adaptations has been memorable, but for me, you can never have enough King on screen. The good news is that we’ve now reached the point where some of his stories are getting second adaptations — ushering in a new King phase where we get to compare the originals with the modern takes. The latest re-entry is Edgar Wright’s The Running Man, as he aims to put his own spin on this classic King story — and hopefully not deliver a plain zero.

Ben Richards (Glen Powell) has found himself in a bad situation. He’s been fired from numerous jobs for insubordination, mostly because he insists on looking out for his fellow workers. Now, with his daughter sick and in need of real medicine, Ben decides to go to the network and try to get on one of its many game shows to win enough money to provide a better life. Thanks to the various skills he’s picked up from his past jobs, Ben is chosen to compete on The Running Man, a show that promises a billion-dollar payout if he can survive. The problem? No one has ever won. But Ben is cut from a different cloth — something even the show’s producer, Dan Killian (Josh Brolin), recognizes.

The rules of the game are simple: avoid being caught and stay hidden, because if you’re found, the hunters will take you out. All Ben has to do is survive for thirty days, and he can finally take care of his family — the only thing he truly cares about. Written by Michael Bacall and Wright (who also directs) and based on King’s novel, The Running Man isn’t the fun, campy version we saw in the ’80s. This one sticks much closer to the source material. While the tone has changed, the action remains intense.

The first half of the script feels a bit rushed, quickly pushing toward the game show — which makes sense, since that’s what we’re here for. The setup is simple: Ben’s motivation is pure survival for the sake of his family. My biggest issue, however, lies with the pacing; at times, the film stumbles over itself trying to keep up its momentum.

Still, The Running Man has plenty that works. Wright, as always, delivers — even if not at his absolute best. His direction maintains that signature kinetic energy, though dialed back a bit this time. The film never bores and has a few sharp things to say, but nothing quite reaches greatness. It mostly hovers around “very good.”

The standout is the cast. Powell gives a performance that balances vulnerability and defiance, making Ben feel deeply human. He’s joined by Brolin and a surprisingly fun appearance from Michael Cera, who both add texture and charm.

I enjoyed The Running Man, even if I was slightly let down — less because of the film itself, and more because I hold Wright to such high esteem. That said, it’s still a damn good time at the movies and a satisfying watch. In fact, I’d say: Like with the other King adaptations released this year, don’t monkey around, take the long walk to the theater, because this one hits the ground running…man.